Sir Peter Bazalgette is one of the most influential figures in the UK’s creative industries.
As the former chairman of Endemol UK and creative director of Endemol Group Worldwide, he was responsible for some of the most successful and recognisable television shows of the past 25 years, including Big Brother, Ready Steady Cook, Ground Force and Changing Rooms.
Sir Peter, who was also chairman of Arts Council England and non-executive chairman of ITV, was recently appointed as the new chancellor of the University of the West of England (UWE Bristol).
In an interview with Dan Martin, he discusses his career, the support needed from the new government to grow the UK’s creative industries, how to improve the sector’s diversity, and why he has taken on the role of UWE Bristol’s new chancellor.
For an extra insight, read to the end to discover Sir Peter’s favourite TV show of all time!
Sir Peter Bazalgette officially took up his role as chancellor of UWE Bristol at the university’s graduation ceremonies in July, which were held for the first time at Bristol Beacon following a new partnership between the two organisations.
You’ve been in the TV sector for over 40 years. How has it changed?
“Until 1955, there was only the BBC, and until 1982, there was only the BBC and ITV. Then there was Channel Four, and then Channel Five came along in the 90s. So even by the 1990s, there were very few channels. Sky Television and Virgin weren’t there at that point, but subscription TV came along when they arrived.
“Fast forward to recently and when I was chairing ITV, we launched ITV X and to be listed we had to negotiate with more than 30 platforms.
“In terms of production, that has changed a lot too. We used to just have public service media putting money into television production, but now we’ve got Netflix alone spending more than a billion in the UK, not to mention Apple, Amazon, Disney and so on.
“It’s changed massively, and people are consuming their TV when they want and how they want.”
What’s your advice to small production companies in today’s TV landscape?
“As much as documentaries are wonderful things, try to have a repeat series, whether it’s factual or fictional, but one that can be repeated and can come back again because that gives you certainty and turnover.
“You should also have a range of clients among both the streamers and the public service media.”
When you launched Big Brother in the UK, did you know how big it would be?
“None of us ever know the night before a show goes out for the first time whether it’s going to be a complete flop or a big hit.
“Big Brother had already become a massive phenomenon in Germany, Spain and Holland before it came to the UK, but not every format works in every country. For example, Survivor has never really taken off in the UK, but it has been a hit in America since the 1990s.
“When Big Brother launched, it was like trying to ride a bucking bronco. It got bigger and bigger. It was on the front page of every newspaper every day, and we had the press on our doorsteps.
“In most of the early Big Brother houses in other countries, the key talking points were two housemates getting amorous with each other. But true to form in Britain, we instead had a class struggle, with working class Craig defeating middle class Nick, who became known as Nasty Nick. Lots of people couldn’t believe we hadn’t set the whole thing up, but we had no idea any of that was going to happen, none at all.”
What impact do you think Big Brother had?
“It was massively controversial wherever it was broadcast. People thought it was exploitative and invasive, but actually it was interesting in that it had a transsexual woman, a gay man, someone who suffered from Tourette syndrome, and all sorts of extraordinary people who at the time were demonised. But they won because people saw their lovely character shining through, and so it did have a positive element.
“It was also an example of early fusion technology because it was on TV as an edited programme, it was on the internet, people watched it live, and you could vote on the telephone. It represented a convergence of media, and it was part of the process of the generation, who today on their mobile phones shoot and edit videos, becoming media literate. They used to watch the live transmission, and then watch the edited programme, before complaining we hadn’t put certain bits in, or we’d been unfair to certain characters.
“They then realised that the programme was an edited piece that was entirely subjective and what the director thought the story was. There was a big element of the viewer developing media literacy which was groundbreaking.”
How do you think the new government should support the creative industries?
“The creative industries, as they say on The X Factor, have been on a journey. We were the first country in the world in 1997 to define an industrial sector called the creative industries, but we then had to catch up because we didn’t have any data about our GVA, our employment etc. In time we had the Creative Industries Council, and we then established an advocacy body that is now called Creative UK, but in many ways, Britain is still playing catch up with the creative industries. With the new government, I hope that the journey and process will continue.
“The creative industries are 6% of the UK’s GVA, but we get 1% of public investment. Clearly that is not aligned with the creative industries as a priority sector for growth which we have been told is the case by both the former Conservative government and the Labour Party.
“Private investment is currently not good enough. The British Business Bank, which encourages investment in small and medium sized enterprises, is not really attuned to the way the creative industries run, the way small creative businesses work, and the criteria by which they have to be judged and invested in. We need to make progress on public and private investment.
“We also need to make progress on research and development tax credit definitions. The UK has a narrow definition of R&D, which is different to the one in other countries in Europe which includes the creative industries so creative businesses can claim tax credits for the innovation that they carry out.
“We need a more flexible apprenticeship scheme because small companies find it difficult to use the apprenticeship levy.”
You have done a lot of work on encouraging creative clusters around the UK. What more do you think needs to be done in that area?
“The creative industries are naturally and organically arranged into clusters. When I made a proposal for public investment in clusters in 2017, which was enacted in 2018 in the creative industries sector deal, it was going with the flow of where clusters typically are. For example, there’s the fantastic screen cluster in Bristol, an advertising cluster in Manchester, fashion in Leeds and games in Dundee. All of those things were happening organically and I suggested that we got behind it.
“The investment was £56m in nine creative clusters and each of them had an anchor partner of a university which could feed the value of applied research into local SMEs. It was fantastically successful over five years. It was matched by about £260m from industry and other sources. It’s a very good example of how you use small amounts of public money to generate growth and investment. It connected applied research with more than 2,500 SMEs, and created lots of new jobs, products and services.
“We found it incredibly difficult to get clusters two funded, despite the extraordinary success story which underlines my point about public investment not being aligned with the national policy to grow the creative industries.
“In the end, we did get it funded, but it still depends on UK Research and Innovation honouring the commitment in the next Spending Review, which has to be agreed by the new government.
“That’s another example of how Britain has not caught up with the creative sector, and isn’t backing it in the way that we are organised.”
What needs to be done to improve diversity in the creative industries?
“We need to do a lot better in this area. If we claim that the creative industries is not just an economic powerhouse, but a social and cultural powerhouse, and that what we produce, our music, theatre, films, TV, books and so on, touches the pulse of the nation, then it has to represent the whole nation and all of the communities. It can only do that if all of them find easy career pathways.
“One of the key things to do is defining better career pathways, which was set out in the former government’s creative industries sector vision last year. When I work with Speakers for Schools, the charity set up by Robert Peston, and speak to first year sixth form students, I ask them ‘what’s your favourite music?’, ‘what’s your favourite fashion?, ‘what’s your favourite film?, ‘what’s your favourite TV show?, ‘what games do you play?’. It always leads to a big discussion about who has the best taste.
“I then ask them to tell me about the jobs that all of those products represent and there’s dead silence. As an industry, we have not defined the career pathways properly. If we do, we’ll have a much more diverse sector.
“We also need much better outreach. When I was deputy chair of the National Film and Television School, we greatly increased the money we put into finding people of talent from all communities, such as having bursary funds dedicated to Black and Asian people. These are the sorts of things you can do to make a difference, but we have a way to go.”
🤝 This morning at #UWEGraduation Sir Peter Bazalgette was presented as the new chancellor of UWE Bristol – succeeding Sir Ian Carruthers OBE who has performed the role with distinction for the past 13 years 👏
Why did you decide to become chancellor of UWE Bristol?
“The role higher and further education plays in training, inspiring and producing the next generation of talent in the creative sector is critical.
“The particular thing that interested me about UWE is that the creative industries is one of the key areas in which they specialise.
“Activities that impress me about UWE include The Foundry which encourages collaboration, new ideas and development of technical knowledge. I also like the fact that they have a student ventures centre which encourages graduates to set up businesses, I like the university enterprise zone, and I like that more than 50% of graduates tend to work in the surrounding area after they’ve graduated. This is a very good statistic, and shows the contribution that UWE is making to Bristol and its surroundings.
“Finally, as a TV producer and chair of the Arts Council, I visited the city many times and I love what Bristol has already and its potential for growth.”
Finally, what’s your favourite TV show of all time?
“Antiques Roadshow. I can’t get enough of it!
“I love the combination of the personal histories and regional histories that are linked to an object. You learn so much about history, and individual stories of brilliant heroism. There’s also the arts and culture, the wonderful locations they visit and the element of greed when it’s revealed what the item is worth. It’s the perfect TV show. I wish I’d invented it myself.”
Nine Tree Studios in Bristol celebrated their opening earlier this month with an event that saw over 150 attendees from across the creative sector.
The 10,000sq ft facility includes two soundstages for film and photography plus a podcast suite, office space, green rooms and a fully-equipped kitchen studio.
Backed by Bristol-based commercial production company JonesMillbank, the studios have been designed to support both small-scale and broadcast-level productions.
“This has been a long road, but it was amazing to see so many new and old faces, all coming together to support and celebrate our launch.” said Russell Jones, Co-Founder of Nine Tree Studios.
Located in Brislington (BS4), the studios are perched near the centre of Bristol allowing them to service productions mixing studio and on-location filming, aided by its 8,900sq ft secure yard for trucks and trailers.
The studios are now Bristol’s largest independent studio, joining a raft of creative spaces throughout the city including neighbouring virtual production stage Distortion Studios and the established Bottle Yard Studios.
“Like restaurants on a high street, the more there are, the better they are, the more their reputation builds. We’re proud of everything Bristol has to offer and stands for, and the more facilities, talent, crew and creative companies that are based here only goes to benefit the region as a whole” Russell continued.
Nine Tree Studios features:
Studio One, a 4,640sq ft soundstage for larger productions and set builds
Studio Two, a more accessible 567sq ft studio with an infinity cove for commercial productions and photo shoots
A 744sq ft kitchen studio for food and drinks content
Boomsatsuma is transforming Creative Industries education with the launch of Bristol Film School and Bristol Creative Technology Centre.
For the last three years, boomsatsuma has been delivering cutting-edge, industry aligned film, photography and games degrees. The next step in the region’s leading creative training providers’ evolution sees Bristol Film School become home to filmmaking and photography degrees, with Bristol Creative Technology Centre (BCTC) housing Bristol Games Studio, alongside the entrepreneurial Venture Studio.
CEO and Founder Mark Curtis says:
“Boomsatsuma has developed a reputation for changing lives. Through our innovative courses we are helping to nurture and develop highly skilled, talented young people, whether that’s at college or degree level. Our new structure focuses on preparing students for successful careers. We are committed to ensuring Bristol remains a powerhouse of creativity and we want the Film School and BCTC to become cornerstones of the city’s successful Creative Industries sector.”
Bristol Film School
Bristol Film School has ambitious plans. Dr. Susan McMillan, Executive Dean, explains why this dynamic rebranding is important for the company, the city and its students:
“The new name, Bristol Film School, says ‘what’s in the tin’ making it clearer to those who don’t know us what we do, how we do it and where. Bristol is globally renowned for its film and television production, and we are trailblazers in shaping new talent to ensure its success, working alongside our wonderful industry partners.”
Bristol-based director of Netflix hit The Crown, Philippa Lowthorpe, three-times BAFTA Award winner, sums up the mood from industry:
“Changing the name really positions boomsatsuma where it should be – as a leader in film and TV in the South West and nationally. Bristol needs its own Film School. It’s incredible we don’t have one. This is fabulous news.”
Bristol Creative Technology Centre
BCTC builds on boomsatsuma’s growing connections with the region’s creative technology sector and its’ ambition to combine degree level learning with the delivery of entrepreneurial, commercially viable projects for partners.
A key development has been the foundation of an in-house incubator, Venture Studio. Led by Richard Blows, Head of BCTC, a team of Game Art graduates and students have been engaged as freelance developers to recreate the world’s first historically accurate digital reconstruction of Hadrian’s Wall for Microsoft Flight Simulator, in partnership with Time Machine Designs.
BCTC Production Manager Mark Fisher comments:
“I had the opportunity to work on the Hadrian’s Wall project through being a boomsatsuma Game Art graduate. I started at boomsatsuma as a college student on the Games, VR and VFX course. Once I finished that I moved onto the Game Art degree and as soon I finished that I was able to start on the Hadrian’s Wall project. Being able to go straight into a job was an amazing feeling and it has been an amazing experience from start to finish.”
To find out more about boomsatsuma degrees and the opportunities available through Bristol Film School or BCTC, come along to our next Open Day on 15th June.
I have now completed my studies at Cardiff Metropolitan University! My final project involved creating a mixed media animation, laser cutting to create 3D models, and projection mapping.
All of this came together to create an immersive installation which will be open to the public at the Graduate Degree Show on the 7th of June, at Cardiff School of Art and Design. I warmly invite you to come along and see it for yourself – me and my course mates have been working very hard to produce our final outcomes and there’s a lot of amazing art and design to see! I am planning on moving to Bristol within the next month so I would love to meet and talk to other creatives in the area. I’ve included a link to my project trailer so you can get a glimpse of what is to come…
Find out more about the exhibition here: https://www.cardiffmet.ac.uk/artanddesign/Pages/CSAD-Summer-Show.aspx
Virtual production is a modern filmmaking technique that combines real-time computer graphics with traditional production processes. It enables filmmakers to create immersive and realistic virtual environments and visual effects in real-time during filming.
During virtual production, actors perform in front of LED panels that display the virtual environments and elements. These environments are created using real-time gaming engines like Unreal Engine. This allows filmmakers to see the final scene while shooting, making it easier to direct and coordinate actors and visual effects. The use of real-time engines also allows for instant content changes, reducing the time needed for rendering before filming. As a result, virtual production significantly reduces post-production processes, as a majority of the “post-production” work is done in pre-production. This saves time and money. It also enables immediate creative decisions, experimentation with different visual elements, and the achievement of higher realism in films.
Moreover, virtual production can save even more time and money by reducing the need for expensive and complicated location shoots. Digital artists can create photorealistic worlds in Unreal Engine, which are then displayed on LED walls, perfectly replicating real locations. With some physical set dressing and props, it becomes incredibly easy to believe you are in the actual location. Additionally, virtual production allows for the creation of ideal filming environments, eliminating lost shoot days due to poor weather conditions.
Virtual production has revolutionized the filmmaking industry, pushing the boundaries of storytelling and visual effects. It has become an integral part of many blockbuster films, TV shows, and commercials, offering endless possibilities for creating captivating and visually stunning content. It can also be utilized on a smaller scale, from internal communication videos to virtual events. When done correctly, virtual production can be budget-friendly, making it worth considering for all types of productions.
To find out more about virtual production, contact [email protected]
NEW STATE-OF-THE-ART FACILITY SET TO ENHANCE UNESCO CITY OF FILM STATUS
Award-winning visual content production company Distortion Studios has acquired and fitted out brand new studios in Brislington. The (200m2) studios will enable producers across all disciplines – television, film, advertising, music, corporate and events – to create original IP utilising the cutting-edge technology of Virtual Production and the power of Unreal Engine.
This initiative, supported by funding from Creative UK and in partnership with iMAG Displays, will see the first permanent Virtual Production studio in Bristol. At the forefront of creative and technological development, the new studio was set up by the team at Studio Giggle, a multiple award-winning creative team, including a group of highly experienced Unreal Engine experts and specialists in immersive digital arts.
Distortion Studios are decked out with state-of-the art equipment including 11x4m curved LED Volume, ROE Black Pearl 2 V2 LED panels, 2x2x3m wild wall mobile led panels, 2x Stype RedSpy tracking system, Stage Precision, Pixera Media Servers and Brompton processing.
Later this month, Distortion Studios will open its doors with a series of launch events. They will be hosting two full days of demos on Thursday 25th and Friday 26th April and a drinks reception on the evening of the 25th. The demo sessions will allow visitors to learn more about virtual production, interact with the LED screen, and speak to the Distortion Studios team.
Distortion Studios would like to invite the Bristol Creative Industries members to the launch in April. To attend, please email [email protected] .
Jonathan Brigden, Managing Director of Distortion Studios comments, “We’re thrilled to have set up our studios in this great City in the South West. Blurring the lines between fantasy and reality, the benefits of VP are simply infinite. We’re proud to be cementing Bristol’s status as a UNESCO City of Film.”
Hannah Long, Portfolio Manager at Creative UK adds “We are absolutely thrilled to have been a part of this journey with Studio Giggle and see the development of their brand new state of the art Virtual Production studio, Distortion Studios, in the vibrant City of Bristol. Jonathan, Steve and their team are such a talented and friendly bunch and a delight to work with. We are proud to have them in the Creative Growth Finance portfolio and as their Portfolio Manager, I cannot wait to see the exciting projects that lay ahead.”
Press contact: Debbie Lawrence at The Lippin Company Ltd : [email protected]
About Distortion Studios
Distortion Studios is a specialist virtual production studio based in Bristol. Blurring the lines between fantasy and reality, Distortion Studios is run by an in-house team of specialists in immersive digital arts. Using cutting-edge equipment, our experts in virtual production are able to create stunning visual effects and captivating environments for film, television, music, events and other media in the most cost-effective way possible.
Our team of award-winning live and film production innovators with more than 20 years’ experience includes masters in Unreal Engine as well as a global network of talent and resources to achieve every creative vision.
Creative UK believes in the power of creativity to change lives. We unite the creative industries and generate opportunities for innovation to thrive by investing in creative people and businesses. And we harness the power of the creative sector to build a stronger, fairer, and more prosperous future.
We are the UK’s leading Creative Industries investor and a strategic investment partner for growth-minded creative businesses. Creative Growth Finance is a landmark fund providing vital scale up finance to the UK’s most promising creative businesses, partnering with Triodos Bank to offer loans of £100,000 to £1m.
Ever cruise past a social media post or ad, and it’s just… uninspiring? Static imagery? Dull text? We understand. Shouting above the noise in a cluttered content landscape can be a real challenge, meaning that this is precisely how you don’t want people to see your online content. When you don’t make a statement, the content you’ve worked so hard on ends up being scrolled past like it’s nothing, and that’s undoubtedly not going to help you grow. However, there is a way beyond this – your riposte of motion graphics! Injecting a touch of animation into your social activity can transform things from forgettable to fascinating. This is precisely what we’re talking about today as we put motion graphics under the spotlight. We’ll show you what they are, why they pack such a powerful punch, and how you can harness them to up your own social media and marketing efforts. Let’s get into it.
What are Motion Graphics?
Let’s start with the basics – what exactly are motion graphics? Motion graphics are essentially animated graphics that convey motion and visual storytelling through various design elements, such as typography, illustrations, and shapes. Here’s an example: Goodwood Festival of Speed – Female Trailblazers. Motion graphics are often short, bitesize pieces of content with major visual impact. Remember how the Netflix logo bounces into view when you fire up your app? That’s motion graphics in action. Now, think about them in a marketing context. Motion graphics take your standard static images and text to the next level. Their hypnotic movements seize your audience’s focus and memorably deliver your message. You’ve likely seen them in explainer videos, product demos, social ads, and TV/film title sequences. The key is their emphasis on animated graphic design over live-action footage. This specialised focus makes them extra engaging to watch. So, in a sea of sterile posts, motion graphics add a vital spark. Their kinetic energy can instantly magnetise wandering eyes – precisely what you need to stand out! And according to research… social media video generates over 1,200% more shares than text and images combined, which explains why 59% of marketers are using them.
What are the benefits of using Motion Graphics?
With motion graphics fresh in our minds, let’s get into why you should use them. What superpowers can these kinetic visuals unlock for your marketing? The answer is plenty! For starters, motion graphics are like social media catnip. Their compelling visual energy can mesmerise your audience, earning more likes, shares, and comments across platforms. Just take a moment to think about how captivating Instagram Reels, YouTube Shorts, and TikToks are. This punchy, short-form content grabs the masses’ attention and encourages them to want more. Quite simply, if you’re not creating this kind of content, you’re missing out on a great opportunity to engage your audience. Next, brand recognition. When correctly produced, motion graphics are a powerful way to create a consistent, recognisable style. So when viewers see your graphics in motion, they’ll know it’s you. Building that instant brand awareness is marketing gold. What about storytelling? These days, effective marketing is all about connecting with an audience or target market emotionally, drawing lines between humans and the vision of your business. Take a look at this example for the United Rugby Championship. Motion graphics are an innovative and strategic way to make this easy, allowing you to explain complex topics clearly and memorably. Say goodbye to confusion and hello to clarity! So, if you’re looking for more visibility, engagement, and captivated audiences, motion graphics check all the boxes. Let’s get shaking and see how these mesmerising animations can escalate your marketing!
How to incorporate Motion Graphics in your Marketing Campaigns
You may think that bringing motion graphics into your marketing efforts is a big challenge. Probably an expensive, long, and arduous process where you’ll spend a lot of money without necessarily getting a massive viral return, but that’s not really the case. For starters, motion graphics aren’t that costly, especially when you’re keeping things simple. It’s not like you need to pay for a huge studio, cameras, and actors like you do with traditional advertising. If you plan to use motion graphics as part of your social media efforts, there is a process that ensures you get the best results and the best ROI. Here are some tips:
Understand your target audience: Identify their preferences and interests so you can create motion graphics that resonate with them and encourage engagement.
Choose the appropriate style: Select a style that aligns with your brand and message. Whether it’s sleek and modern or fun and playful, the style should reflect your campaign’s personality.
Work with a professional team: A skilled motion graphics team can provide guidance on design, animation, and best practices to ensure your motion graphics are effective and visually appealing.
Integrate with other assets: Reinforce your message and make it more memorable by adding animated elements to your static images or using motion graphics in your video content to keep your audience engaged throughout.
Conclusion
With the proper prep, strategy, and style, you can create captivating animations that spellbind audiences. Just imagine – more shares, stronger branding, crystal clear storytelling. All of this leads to a positive ROI! Ready to start animating your content and taking it to the next level? Vivid have got you covered. We’re here to help craft bespoke animations that dazzle and delight.
Contact us today to explore how custom motion graphics can electrify your next campaign! Let’s get those creative juices flowing.
Boarders, the brand-new comedy drama created by Bafta-nominated Daniel Lawrence Taylor (Timewasters), is now available on BBC Three and BBC iPlayer after filming entirely in Bristol and the South West with support from Bristol Film Office last year.
The six-part high energy series, produced by Studio Lambert (The Nest, Three Girls) in association with All3Media International, follows the lives of five talented black inner-city teenagers navigating their way through an alien world – the British public school system.
The main filming site for the series was in Clifton, and Bristol Film Office worked closely with Studio Lambert to provide nearby production offices and parking for the crew during the five-month shoot. Other Bristol locations that feature include Ashton Court, Carolina House on Dove Street, Redcliff Hill, Stokes Croft and St Nicholas Market. Filming for interiors also took place on sets built at The Bottle Yard Studios. Further afield in the region, filming took place at Chavenage House near Tetbury and in Weston-Super-Mare.
As well as assisting with locations, Bristol Film Office liaised closely with the production team to connect it with local crew talent including Bristol company Latent Pictures which runs a paid development programme for underrepresented filmmakers. Around 90 crew members worked on the production per day, 70% of which were regional crew, with more than 55% from Bristol and the South West.
Line Producer, Carleen Beadle-Larcombe, says “Bristol Film Office were exemplary in helping source locations. There were last minute location changes needed because of weather or cast availability – alternatives options were quickly suggested and things like parking suspensions and road closures were issued quickly and efficiently. In addition Bristol Film Office helped Boarders source last minute Graffiti artists which were needed in order for us to complete filming at a new location.”
Madeleine Sinclair, Executive Producer for Studio Lambert adds: “The premise of the show is about access to opportunity and that was important to reflect in the production and crew. With the help of the Bristol Film Office, we aimed to attract local talent and give opportunities to those from underrepresented backgrounds across the crew. In addition to this, we brought on Latent Pictures, a Bristol-based company working with underrepresented filmmakers, to produce all our ‘behind the scenes’ footage.
“We had a number of ScreenSkills trainees in our HMU, Sound and Assistant Director departments and shadow directors joining us regularly on set. I think it was hugely valuable to the production because we had some really fantastic people and it made for a really interesting and buzzy set with crew from a whole range of backgrounds, who each brought their own different experiences.”
Prince Taylor, Executive Producer at Latent Pictures, says: “Collaborating with All3Media and Studio Lambert to create an engaging EPK (electronic press kit) was a great experience not only for the team, but for all of the Latent Talent we were able to provide paid training for. We could see how representation and authenticity were priorities for all involved and this helped create a learning environment that meant our trainees could really thrive, connecting with what they were learning and the wider teams involved.”
23-year-old Jojo Bossman (they/them) from Bedminster in South Bristol, was a Camera Trainee on Boarders. They say: “Boarders was definitely the most diverse show or feature I’ve ever worked on, which was wonderful. It was a really significant milestone for me in that it was the first long form job created by and starring Black people I’ve worked on.” Read a Q&A with Jojo about their experience working on Boarders here.
Following a problematic viral video involving a student, Jaheim (Josh Tedeku), Leah (Jodie Campbell), Omar (Myles Kamwendo), Toby (Sekou Diaby) and Femi (Aruna Jalloh) are offered sixth form scholarships to St Gilbert’s, one of the country’s oldest and most prestigious schools, in an attempt to rehabilitate its image. They soon find themselves in a world they can only describe as something out of Harry Potter, surrounded by lush playing fields, cloistered grandeur and complex social rules which they must decipher quickly in order to survive. They will go on a journey as they learn about themselves, their identity and what it’s like to live alongside the one percent – which they discover is nothing like life as they knew it.
Boarders is created and written by Daniel Lawrence Taylor, with episodes written by Emma Dennis-Edwards, Yemi Oyefuwa and Ryan Calais Cameron, and script edited by Missy Howard. It is directed by Ethosheia Hylton and Sarmad Masud and produced by Ali MacPhail. Executive producers are Daniel Lawrence Taylor, with Susan Hogg and Madeleine Sinclair for Studio Lambert and Nawfal Faizullah and Ayela Butt for the BBC.
Boarders is now available as a boxset on BBC iPlayer. Episode one aired on BBC Three on Tuesday 20th February and further episodes will air weekly.
A new skills training programme to support creatives looking to break into behind-the-camera roles on scripted film and high-end TV productions made in the West of England will launch later this month.
It comes after Bristol City Council’s Film Services have secured almost £300,000 (£299,818) from the West of England Mayoral Combined Authority, led by Metro Mayor Dan Norris, to deliver an industry-led West of England Film & High-End TV Workforce Development Programme to help creatives make their impact and find new career opportunities.
Delivered by The Bottle Yard Studios, Bristol UNESCO City of Film and Bristol Film Office – the three departments that make up Bristol City Council’s Film Services – the year-long programme will be open to regional participants from backgrounds currently underrepresented in the industry. Tailored training will demystify the world of scripted production and prepare trainees for entry level crew positions, with the aim of strengthening the pipeline of diverse local crew talent.
The investment comes at an important time of continued growth in the West of England’s film and high-end TV sector, with an estimated 21,000 new crew forecast to be needed across the UK by 2025.*
Metro Mayor Dan Norris, who leads the West of England Mayoral Combined Authority, said: “The West of England is fast becoming the Hollywood of the UK. Only recently, huge names like Disney+ have checked in to The Bottle Yard Studios’ new state-of-the-art and West of England Mayoral Authority-funded TBY2 facility – that’s a massive vote of confidence in our world-leading creative industries. But to keep up the pace, we need to tap into the extraordinary wealth of creative talent we have in the West. That means supporting them with world-class training to create that new home-grown creative generation for the sector.
“That’s why I’m delighted to be launching this programme fully funded by the Mayoral Combined Authority I lead, to give West of England residents the opportunities they need to thrive in film and high-end TV – something the West does so well. It gives a platform to the next generation of talent who will shape our region’s bright creative future. So, to those considering a career in film and TV: I want to hear from you!”
Councillor Craig Cheney, Deputy Mayor of Bristol with responsibility for City Economy Finance & Performance said: “It’s brilliant to see Bristol’s thriving film and TV sector in the spotlight once again and we are delighted to secure funding to further support this vital industry, as well as the talented people who bring Bristol’s creative sectors to life.
“Bristol remains a world-leading hub for film and TV production, with some the industry’s biggest names choosing our city to produce their shows. Bristol’s new state-of-the-art film studio, The Bottle Yard’s TBY2 facility, has already played host to some of the UK’s most exciting productions since opening its doors in 2022 supported by £12 million in funding. However, as the sector continues to go from strength to strength, more targeted investment into training and developing the next generation of homegrown production talent is becoming increasingly necessary. This industry-led development programme will tap into the deep pool of creative talent here in the West Country and open new career pathways to underrepresented groups who may never have had the opportunity to take their first steps into this fast-growing sector.”
Laura Aviles, Head of Film, Bristol City Council says: “We’ve long made the case that targeted skills investment for scripted crew in our region is essential if we’re to develop this often-overlooked segment of the screen workforce. Film and high-end TV production levels in Bristol and the West have been increasing steadily in past years, supported by The Bottle Yard’s expansion and the region’s Film Offices facilitating more productions on location. With this success comes the opportunity to grow our local talent base – which is crucial when the existing crew base hits capacity, something we anticipate as we move on from last year’s US writers and actors strikes. We are delighted to have secured this funding to deliver a programme designed to help local entrants understand and navigate the fast-paced world of production they are not yet familiar with, to support them in identifying the right opportunities and having the confidence to step into industry roles that suit their talents and ambitions.”
Natalie Moore, Bristol UNESCO City of Film Manager, says: “Developing a local skills pipeline for scripted crew is a key priority in our Bristol UNESCO City of Film Action Plan. Opening up opportunities for regional talent from a wide range of backgrounds makes for a more sustainable and resilient industry base. With so many career opportunities that can and should be made available to people living within the region, we want to make access routes into the film and TV industry easier to navigate and provide support to build a more diverse local workforce. This programme will create a clear pathway to help underrepresented talent from Bristol and the West into scripted production careers, demystifying the industry and preparing them for employment with the right level of support and guidance.”
The programme, which is funded by the UK Government through the UK Shared Prosperity Fund, will feature a series of sessions repeated for three intakes throughout 2024, including a ‘Get to Know the Industry’ webinar, an Industry Induction Day at The Bottle Yard Studios, and a specially designed 5-week training scheme to equip potential new entrants for a career in film and high-end TV production. Training will focus on confidence-building, set etiquette and work-readiness, communication skills and teamwork, wellbeing and resilience, as well as digital and financial literacy and how to find work as a freelancer.
The programme will aim to engage up to 750 people in total across its different strands of activity, with a view to 45 undertaking the 5-week training course that will equip them to go on to get jobs. Those who complete the full training will be added to a New Entrants Portfolio given to film and high-end TV productions filming in the region.
The programme will also launch a digital New Entrants Hub, designed to signpost anyone in the West of England interested in a career in film or high-end TV to useful resources, training and development opportunities that are relevant to the region.
Applications will be invited from residents of Bristol, Bath and North East Somerset, and South Gloucestershire aged 17 and above**. Underrepresented target groups will include young people aged 17-25**, those not in education, employment or training, under-employed people and those on zero-hour contracts, women, people from the global majority, disabled people, people living with mental health issues, carers and care leavers. An Access Fund will be provided to support any participants who face a financial barrier to taking part.
The West of England Film & High-End TV Workforce Development Programme has been devised following recommendations of the BFI Skills Review (June 2022) and Olsberg’s Workforce Development Report commissioned by Bristol City Council and The Bottle Yard Studios (July 2023). The first call for applications will open in January 2024.
The West of England Mayoral Combined Authority is working in partnership with Bristol City Council’s Film Services (comprising The Bottle Yard Studios, Bristol UNESCO City of Film and Bristol Film Office) to deliver the Mayoral Priority Skills Fund. This fund provides flexible grants to meet current priority skills gaps in the region. This project is part-funded by the UK Government through the UK Shared Prosperity Fund.
Upcoming productions recently filmed in Bristol and the West of England include Jilly Cooper adaptation Rivals (Disney+), series three of spy thriller Alex Rider (Amazon FreeVee), series three of Stephen Merchant’s The Outlaws (BBC/Amazon Prime Video), comedy drama Boarders (BBC Three), teen crime thriller A Good Girl’s Guide to Murder (BBC Three) and series five of children’s drama Malory Towers (CBBC). Titles currently in production in the region include Wolf Hall: The Mirror and the Light (BBC/Masterpiece PBS) and romantic comedy The Road Trip (Paramount+).
How Do Stories Work? Part 6: How is the attention economy changing the way we tell stories?
Dear Storyteller,
As filmmakers, we must adapt and evolve with the times to capture and maintain our audience’s attention while keeping purpose and authenticity at the core of our storytelling.
Many purists would consider the idea of ‘versioning a story’, that is adapting it for different ‘channels’, to conflict with the very soul of the storyteller. A story should simply have the time it needs to be well told.
But what works ‘best’ depends on the context of the telling. We no longer communicate sat face-to-face around an open fire but through multiple and proliferating digital media. We have been suddenly removed from millions of years of storytelling evolution.
However, the need to communicate across multiple media can be an invaluable opportunity for stories to reach and connect with wider audiences. Film narratives need to be crafted into multiple variants to engage, not as auteur works of art, but as purposeful tools with a central unifying message.
In times of seemingly dwidling attention spans, the pressure is on to communicate the essence of a message more quickly.
But how fast can you tell a story with a sense of context, character, place and emotion, whilst also letting it breathe, before the story falls apart and the essence is lost?
Of course, our attention span depends on viewing context and on how invested the audience is in your subject before they take their seat.
So, you need different versions to engage different audiences watching with different levels of pre-existing attenuation to your message, from the active listener to the casually curious.
Is it possible to tell a complex story dealing with complexity, multiple characters, and the nuance of human emotion in one minute?
Well yes, but not in one step. Editing, unlike say sculpting, is a non-destructive process of refinement. So by a careful process of distillation, each step yields a shorter yet distinct form that can be used to connect with audiences in different ways, each time stripping away more of the context and complexity whilst bringing the essence more sharply into focus.
Here’s a recent example of this creative versioning process in action.
The brief from our colleagues ImpactEd Group was to reveal the transformation of a child enabled by the concentrated attention of an adult, herself guided by the skilful evaluation of data.
Each version of the film had to convey more and more succinctly both the context and emotion of a transformative experience.
‘How can data help transform the life of a child?‘
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